Andrew Reid

My OCT 18 35mm anamorphic is actually sharper than my OCT 19.   It depends on the luck of the draw and what condition the lens is in. Olex is worth contacting if you want yours optically checking.

There's a further twist to this...   The first few frames of the D5200's H.264 files are very slightly muddier than the rest of the clip! So weird.   What you see above is one of the first few frames and I have only just realised this bug. But the HDMI is still giving me a better image for grading work and is uncompressed.   More to come on this...

Check out the Blackmagic HyperDeck Shuttle shots just in. Going to have to update the review. This cam via HDMI is absolutely killer.   http://www.eoshd.com/comments/topic/2125-exploring-nikon-d5200-hdmi-output-major-discovery/

It's uncompressed 4-2-2 guys.   I'm finally getting it to work with the Blackmagic HyperDeck Shuttle and it grades amazingly. Noise grain is finer, there's obviously far less compression going on via HDMI. There's also about a stop more dynamic range and a more gentle roll off to the highlights. Amazing stuff.   If you get this camera, I recommend you shoot via an external recorder.   Now here's the proof... (blown up 200% in PS)...   http://www.eoshd.com/uploads/nikon-d5200-prores-vs-h264.png   More detail too - look at the thread on the outer ring of the Iscorama... Thread lines visible in the ProRes and smudged in the H.264 internal recording at 24Mbit.

  H.264 MOV ALL-I 72Mbit 1080/25p.

  Not really since the aperture ring is on the lens with a lot of the Nikon glass. I use the AI/S stuff.   With the modern AF stuff you need to flick it into optical viewfinder mode and change the aperture there, then switch back to live view mode.

  With different sensor sizes, the lens performance is always in the equation. It is just a matter of trying to match them as closely as possible.   Given the same lens, a 2x crop sensor will have sharper corners than a full frame or 1.5x crop sensor because it uses more of the centre where the resolution is highest.

The banding noise pattern is only visible when you boost the lows very high using the built in picture profile. There's a workaround in my review here: http://www.eoshd.com/comments/topic/2120-nikon-d5200-review/   Discussion moved to the review thread.

Julien - This is the D5200 review not a commentary on the GH3 and I should clarify the GH3's strong points which aren't mentioned in the article...   The mirrorless mount means you can use a wider range of glass. Have no Nikon stuff? Then it won't be a $700 purchase, to say the least.   The GH3 is weather proof and has an OLED EVF which you can use during video recording. No mirror to get in the way.   Rolling shutter is less severe.   You don't need to sharpen in post as the resolution is superb out of the box.   Battery life is miles better on the GH3.   It has more physical control, more programmable buttons and 5 dials in total despite the small body.   The moire problems are pretty minor compared to the Canon 650D.

  Well I touched on it in the review but let's summarise this...   I'd take the articulated screen and fixed moire or aliasing on the D5200 any day over a full frame sensor.   The D5200 is also smaller and lighter, and a third of the price!   On Super 35mm there's very few situations where you cannot just use a fast aperture and add a slight vignette in post to mimic the look of a Nikon lens on full frame.   The D600 meanwhile has even worse moire & aliasing than the D800, but with the Mosaic Engineering filter it might be more appealing. I haven't tried that filter yet but the one in the 5D Mark II did soften the image and introduce issues with wide angle lenses. I liked it - but it is a bandaid not a fix.

Well, we threw them into the night and this is how they came out. Maybe it just shows the GH3 needs more sensitive handling and that the D5200 can be thrown in there and get results. I know this is something a lot of people look for in a camera, and one of the reasons the C300 has been so popular.   The GH3 needs to be followed by a high performance GHX in my view.   With the cheap APS-C sensors getting so advanced, and the lens ranges of Nikon and Canon so comprehensive, Panasonic need to recognise a slight change in the game I'm afraid. The Blackmagic too sets a new benchmark. The main worry for Panasonic now would be to wonder who is going to shoot stills on a GH3? The lens range is expensive and more limited than Nikon's. The sensor just isn't as good. It also has tough competition from the OM-D because that camera has the internal stabilisation system with adapted glass.

  Yeah - I kind of agree with you on this one. I will do this for the next test.   But the lens was by no means that great on the Nikon. $60 pancake!   I need to invest in some more Nikon glass since I only have the 50mm F1.8 and the 85mm F2.0.

  The D5200 is clearly better at high ISOs. I used identical aperture and shutter speed on both cameras at ISO 1600 and 3200, and even with the crush applied for a punchy image with the D5200, the shadows are at a similar level of exposure but much noisier on the GH3. The main issue I feel, was that the GH3 produced unappealing muddy colours at these high ISOs. I graded almost all the shots you see in the video to get a balance. With the D5200 it was easy, with the GH3 I had to make much more dramatic changes. I don't think I have yet got the in-camera picture profile spot on with the GH3.   With the GH2 we took years getting used to the picture profiles, then they go and sweep them away for the GH3. It is completely different.   I am also kind of angst at the use of a Sony sensor in it. Panasonic should be putting their own technology in flagship products.

Please reserve judgement on the GH3 until my final review next week. One bad test result doesn't make a season :)   PS - nice signature Charlie.

http://vimeo.com/59832019 The Nikon D5200 is the best mid-range Nikon yet for video. What is more of a surprise is the relish in which it takes on the much more expensive 5D Mark III, Panasonic GH3 and Nikon's own flagship the D800 and D4.   http://www.eoshd.com/content/9653/nikon-d5200-review

New in this update   Robocop 2 Sony FS100 Isco 2x anamorphic with support system for 15mm rails Optex 1.33x anamorphic lens http://www.eoshd.com/content/2777/rare-ebay-finds-eoshds-latest-picks

Letus Talon rails, quick release plate and shoulder pad.

I've mostly shot with adapted lenses on the Blackmagic, so not so much EF stuff and hardly used the 11-16mm.   Though 90% of this video is Samyang 35mm, I used the Tokina 11-16mm it for a few shots here and infinity was not exactly very sharp.   http://vimeo.com/53340005   I also noticed that there's a bit of flex in the mount of the camera but not sure if I should be worried about it yet.   The Tokina has a shim which you can remove to fix the infinity issues https://dl.dropbox.com/u/3464747/Tokina_Shim_Removal_v2.pdf   I need to do more tests with my camera before truly deciding if it has a fault or not. All I have at the moment is a strong suspicion.   Why didn't the beta testers catch this?

Thanks Bruno but I have edited your post. Main topics cannot consist of just an URL leading people away from the forum to find out what the topic is about. You have to put more effort into the post and put the info in, along with your opinion of it if you have one.   Dan's site was the first to run this article so I have changed the URL to point at him. Only fair the source gets the credit.

  Tried the Helios 44-2 with it, looked pretty much the same as the Nikon and Olympus OM. I didn't use it in the end, partly as wanted to try something new and partly since the pancake is short and stocky, bringing the weight of the lens closer to the mount with less leverage.

Set the brightness to strongest setting and turn it off auto brightness.

Still would rather take the benefits of OLED technology than this slight disadvantage.   It is more like a colour temperature shift to cooler tones than a green shift. I do see it, more like at 30-45 degrees than 10 but it hasn't really bothered me because I use the screen for composition and exposure not colour correction!

Most affordable for locked down shots like in Zen (if you don't mind missing a moment with the focus) is the Kowa 8Z. As good an image as an Iscorama but without the single focus barrel ability.   You are looking at 10-20 second shot set-up time with the punch-in focus assist with one but the patience is worth it. The lens can be had for $300!

It isn't a defect.   All LCDs shift colour and contrast when viewed from an extreme angle.   Since it is an articulated screen just angle it straight to your line of sight!   An articulated OLED... Want better? Wait till the 2020 technology comes out!

  Thank you Robin.   Also great to see a profile pic and real name - how it should be on the forum.   I have tried the Leica R glass but the 35 2.8, 50 2.0 and 90 2.8, not yet the 35mm 1.4. But on S35 with the Iscorama 54, I have no trouble with vignetting at 35mm with most glass I've tried.   Go for a small front element on the prime. The Voigtlander pancake lenses are worth investigating. The smaller the front element of the prime lens, the more it seems to avoid a vignette at the same focal length to a lens with a larger front element.